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The walls of the medina carry more than plaster. Political slogans, civic names, organizational announcements — the city writes on its own surfaces in a tradition that predates print, using the wall as the most democratic publishing platform. Here, Arabic script in teal paint runs boldly across a cracked white wall, Latin initials completing the inscription below. The composition places this against two other surfaces: the clean salmon orange of an adjacent wall, smooth and entirely unmarked; and above the gap between them, a rectangle of flat blue sky. Three surfaces, three colors, three different relationships to time — the orange wall pristine, the white cracked and written on, the sky unchanged. The medina reading itself.
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